Melanie's Hot Line Review

Reviewed by fu_q  on  10/21/2012

Review:
One obscene phone call can be a life-changer, as virginal Justina Lynn finds out the “hard” way in “Melanie’s Hotline”, a fun-but-kinky mid-70s production from Cal Vista Classics and director Maurice Delarue. Featuring some taboo themes, this one is a bit on the edgy side by today’s standards, so it definitely has its hot moments…but its (understandable) technical issues (audio, screen resolution) and some wood problems in the final scene keep it from being all that it can be. It definitely isn’t a bad film, however…and will be of interest to a certain, nostalgia-centered segment of the audience…but its broader appeal is likely limited.

In terms of the sex, Scene One results from an obscene phone call that Justina Lynn makes with her boyfriend. Even though they’re just playing around, they chance upon Joan Devlon’s phone-line. Of course, she’s involved mid-fuck with her lover, Harold Black, who—with Justina still on the phone—takes her in a doggie-style and a creamy missionary position. He pops on her pelvis and left thigh in this short but decent encounter, and Joan then talks Justina into returning the favor on the other side of the line. This ushers in Scene Two, of course, with Justina losing her virginity to her boyfriend…all under the spoken guidance of Joan on the other end. Playing the role of the timid newbie well, Justina experiences oral and vaginal sex for the first time. Her boyfriend takes her and ultimately unloads with a no-hands pop-shot out of a missionary position. His semen ends up on her tummy and pelvis, as he continues to dry-hump her bush. This is hot stuff. (After all of this, Joan invites herself over to Justina’s place. No resistance to the idea is offered.)

Scene Three features a cut to Pharoah Amos (“the Whip”) carrying his slave, Valerie Franklin, down the stairs to a dingy, creepy basement. The surroundings are like something out of a serial killer movie—eerily realistic—and the action that follows isn’t too far behind. After Valerie puts up a faux-struggle, Pharoah chains her to the rafters, whips her with a bull-whip (some marks are apparent) and then dildos her a bit. Letting her down, he drops her on a mattress on the grimy floor. A blowjob featuring some mild face-fucking follows, with a poorly-captured cum-shot on her neck and some subsequent oral cock clean-off finishing off this dark dance.

Following another cut, Joan Devlon, Harold Black, Valerie Franklin, and Pharoah Amos have all made their way over to Justina’s. She and her boyfriend are there, and the “party” gets started. First up, Justina is introduced to the pleasures of the same sex by Joan and Valerie…in front of her boyfriend and the guys (Scene Four). Some fingers and tongues are involved in this short affair, as Justina’s lesbian deflowering is completed. Pharoah Amos then picks up right where the women left off, moving in with a spiky (“French tickler”) dildo that he uses on her (Scene Five). Ultimately, the others pair up—the boyfriend with Joan and Harold with Valerie—and head off to a backroom…with the former leaving first. Justina blows Pharoah a bit before they too join up with the other “couples” in the backroom. [Prior to the full regrouping, the boyfriend and Joan get off to a slow start (pussy-eating; Scene Six), and Valerie blows Harold a bit (Scene Seven)…all in the backroom.]

Scene Eight ends up being a whip-cream-coated orgy of sorts, taking place after all six of the participants have reconnoitered in the same room. There are some wood issues here for a couple of the males—which put a damper on things—but Harold delivers well. He and Valerie put forth a decent fucking that eventually culminates with him pulling out of a missionary position and popping all over her. In terms of the other guys, there’s some blowjob action, and Joan jerks the boyfriend to a pop on his own stomach. Not to be left out, Justina’s oral work on Pharoah ultimately results in him popping in his own hand. This scene is decent but hindered by the obvious shortcomings.

Bonus-wise, there are four “Vintage Trailers”, a “Legendary Tribute” (cuts from different classic movies strung together), and an advertisement for Jim Holiday’s book, “Only the Best”. Further, there are four “Bonus Scenes”. There’s a Danielle boy-girl sequence with Paul Thomas from “Untamed Passions”, a scorching romp involving a brunette (Samantha Fox?) from “Pussycat Ranch”, a brunette coupling with a guy on a pool table from “Find Your Love”, and two blondes nailing a bizarre, younger guy on a film set in “The Arrangement”. In all, these are decent enough extras.

All things considered, this release has some shortcomings but also a strong nostalgic appeal. For the appropriate audience—which is likely limited but existent—it’s worth a look.


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